Ladies and Gentleman, Bill Fay is back. His new album Who Is the Sender? is the much anticipated but hardly-dared-hoped-for followup to 2012’s revered Life is People, which was Bill’s first solo studio album in 41 years. His new record Who is the Sender? is out April 27th (Europe) / 28th (North America).

Listen to the second album track “War Machine” now by watching the lyric video above (directed by Phil Poole) or here on YouTube / Dailymotion including scenes from the new album’s recording sessions in Ray Davies‘ Konk Studios in North London. The song is also streaming on our Soundcloud here.

About the album title –Ask Bill Fay about his relationship with his instrument and he says something revealing, not “Ever since I learnt to play the piano”, but “Ever since the piano taught me…” What the piano taught him was how to connect to one of the great joys of his life. “Music gives,” he says. And he is a grateful receiver. But, it makes him wonder, “Who is the sender?”

“[Transfixiation] represents another giant step forwards in A Place To Bury Strangers’ continual evolution”

“A Place to Bury Strangers is known to be a behemoth on stage, and Transfixiation is as loud as the group’s reputation merits.”

A Place To Bury Strangers will tour in support of Transfixiation starting starting tonight and will be joined on the road by Ed Schrader’s Music Beat, Creepoid and more! They cap it all off with a performance at Austin Psych Fest in May. Full list of tour dates after the jump.

At the end of December 2013, Phosphorescent played a four-night stand at the Music Hall of Williamsburg in Brooklyn; and for four-nights running, blew the roof off the place. Matthew Houck, fronting his six-piece band, plus two auxiliary strings players deployed throughout the set, played for more than 10 hours total, all recorded and eventually edited down to the 19 tracks that appear on the new triple gatefold, three-album set, Phosphorescent, Live At The Music Hall. Stream the album in full via:

Dark Bird Is Home, the fourth album from The Tallest Man On Earth, doesn’t feel like it came from one time, one place, or one tape machine. The songs and sounds were captured in various countries, studios, and barns, and they carry a weather-worn quality, some dirt and some grit.

While Dark Bird is The Tallest Man at his most personal and direct, deeper and darker than ever at times, it’s also an album with strokes of whimsy and the scent of new beginnings — which feels fresh for Tallest Man On Earth, and well timed. Reliably, the melodies and arrangements are sturdy and classic, like old cars and tightly wound clocks. The lyrics and their delivery are both comforting and alarming, like tall trees and wide hills.

The other musicians and layers on this recording put a wide lens on familiar themes. Fear and darkness, sleep or lack of it, dreams in the dark and in the light. Moving, leaving, going. Distance and short stops, long straight lines, temporal places. More hopefully, a grateful nod to a traveling partner, a healing mind. Maybe a little forgiveness needed. Definitely some things to forget.